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Fun Facts About 'Ghostbusters'

Columbia Pictures via Everett Collection
"Who you gonna call?" If you had shouted that anywhere in the country during the summer of 1984, a multitude of voices would've screamed "Ghostbusters!" back at you.
The paranormal comedy starring Bill Murray, Dan Aykroyd and Harold Ramis and directed by Ivan Reitman was an immediate smash with its mix of broad humor and special effects hitting a home run with kids and their parents. You probably remember the giant Stay-Puft Marshmallow Man that nearly destroys New York, but here are some fun facts that you might not know.
When Aykroyd was originally writing his script for the movie he intended for John Belushi and Eddie Murphy to play Peter Venkman and Winston, the roles that eventually went to Murray and Ernie Hudson. Belushi died while he was still working on the script and the shooting schedule for Beverly Hills Cop forced Murphy to drop out.
John Candy was cast initially in the role of Louis, who becomes possessed by the Keymaster. Candy quit after Reitman wouldn't let him do the character his way, which included speaking with a German accent. He was replaced by Rick Moranis, who was Candy's longtime costar on SCTV.
It's all in the marketing. The initial advertising for the movie was simply posters with the "No Ghost" logo, followed by the Ghostbusters' car (Ecto-1) being driven around New York City without explanation.
After the movie opened, Reitman created a trailer out of the commercial in the film which gave a working 800 number. The number led to a message of Murray and Aykroyd saying that they were out catching ghosts. It reportedly received an average of 1,000 calls an hour every hour for six weeks.
Stay-Puft Marshmallows is not a real product, but in the movie there's a pack of them in Sigourney Weaver's apartment as well as a billboard on the side of a building advertising them.
Rietman was originally planning on doing a film version of Douglas Adams' The Hitchhikers Guide to the Galaxy. When the director and his producing partners contacted Aykroyd about being part of the project he instead pitched them his ghost movie.
The famous theme song by Ray Parker Jr. was number one on the Billboard charts for three weeks. Parker has said in interviews that he was inspired to write the song as a jingle in line with the commercial in the film after he saw a TV spot for a local plumber while trying to overcome a bout of writer's block. Huey Lewis apparently disagreed with that version of events since he sued Parker claiming that the melody plagiarized his song "I Want a New Drug." The dispute was resolved by an out-of-court settlement.
On the DVD commentary, Rietman confirms that Aykroyd's original script was set in the future where there were teams of Ghostbusters all over the world, with sci-fi touches like the Ecto-1 flying, and would've been too expensive to shoot. Ramis, who co-wrote Animal House and Caddyshack, was brought in to tone down Aykroyd's vision.
Ramis originally wasn't going to act in the movie, even though he had previously starred with Murray in Reitman's Stripes. He joined the cast after he formed a close association with the character while writing the script.
Ramis' character Dr. Egon Spengler was named after German philosopher Oswald Spengler who wrote The Decline of the West, which argued that all civilizations eventually break down.
Paul Reubens (Pee-Wee Herman) was originally offered the role of Gozer the Destructor. After he declined, the role was reworked and went to Yugoslavian model Slavitza Jovan.
Michael Keaton was in discussions for both the Venkman and Louis roles but turned them both down. Chevy Chase was also considered for Venkman, while Jeff Goldblum and Christopher Walken were among those talked about as possible Egons. Comedian Sandra Bernhard was offered the role of the Ghostbusters secretary that eventually went to Annie Potts, while Michael McKean was one of the other actors considered to replace Candy in the Louis role.
A real jail was used for the scene where the Ghostbusters are locked up, and Aykroyd believed the location to actually be haunted.
The exterior for the Ghostbusters headquarters is the real Hook and Ladder No. 8 Firehouse in the famous Tribeca neighborhood of Lower Manhattan. The location was almost closed as part of the city's budget cuts in 2011, but was one of 19 firehouses saved in a restructured plan by then Mayor Michael Bloomberg.
The movie was the first to have veteran broadcaster Larry King appear as himself, while porn actor Ron Jeremy and pop songstress Debbie Gibson were both extras during the filming.
The scene where Weaver levitates was done in the same manner as a magician uses in a stage show. Reitman had worked with illusionist Doug Henning on the Broadway show Merlin and was familiar with how the trick was done.
Actor William Atherton, who plays the Ghostbusters' nemesis Walter Peck, has long claimed in interviews that for years after the movie was released he would have people yelling at him on the street for his treatment of Murray and company. He said that it even led to physical altercations in bars. Atherton went on to play sleazy reporter Richard Thornburg in Die Hard and Die Hard 2.
The ghost that wreaks havoc on the Sedgewick Hotel didn't have a name in the script. The model that was used on set was nicknamed "Onion Head" because of its smell and Aykroyd joked that it was the ghost of Belushi. Fans of the movie started calling it Slimer and the name stuck, eventually being used in the animated series that the movie spawned.
Unbeknownst to the producers, Filmation had made a short-lived animated series in 1975 called The Ghost Busters. Heading off a potential lawsuit, Columbia paid Filmation a fee for using the name.
Murray agreed to do the movie only if Columbia Pictures would provide the funding for a film version of the W. Somerset Maugham novel The Razor's Edge that he would star in. Murray's pet project was released later in 1984 and made $6.6-million at the box office. Ghostbusters grossed more than $238-million in the United States alone.
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Over the almost 50 years of Saturday Night Live, there have been plenty of seasons that were good (more than most casual observers would like to admit) and bad (some spectacularly so). There was, though, only one 1984: quite possibly the strangest season in the history of the show.
With Eddie Murphy completely gone to pursue his superstar movie career and the second most recognizable cast member, Joe Piscopo, having worn out his welcome after the 1983 - '84 season, executive producer Dick Ebersol was left without a star. The remaining cast members, including a young Julia Louis-Dreyfus and Jim Belushi, had never quite fit in with the show and were largely dissatisfied with the way that they had been treated. Many people figured that Murphy leaving would finally signal the death knell for SNL.
Righting a Wrong
Instead of trying to develop another young talent like Murphy, Ebersol turned to more established comedians, including one who had almost been part of the original SNL cast. By 1984, Billy Crystal was already a well known entertainer after his stint on the sitcom Soap and his numerous talk show appearances where he imitated celebrities like boxer Mohammed Ali, but in 1974 Crystal had been cut from the original Not Ready for Prime Time Players on the eve of the show's debut. Why that happened depends largely on who tells the story, but whatever the case, when Chevy Chase, Gilda Radner, John Belushi, and Dan Aykroyd rocketed to fame, Crystal wasn’t with them. Nor was he offered the spot that went to Bill Murray when Chase left after the first season. Ten years later, Crystal was finally being given the chance to right what he considered a wrong.
The Rest of the Gang
Along with Crystal, Ebersol brought in Martin Short, who had already been a cast member of Canada's SCTV (which launched the careers of John Candy, Rick Moranis, and Catherine O'Hara), as well as Christopher Guest and Harry Shearer, fresh off their success in This Is Spinal Tap. Rich Hall, who had been part of an ensemble HBO comedy show called Not Necessarily the News, and Pamela Stephenson, who had been on the British precursor (Not the Nine O'clock News) of Hall's HBO show rounded out the new cast members. It was an odd turn of events considering that Crystal hosted SNL twice the season before he joined the cast, while Guest and Shearer had made a guest appearance as part of Spinal Tap.
The Season
Crystal, Short, and Guest wasted little time putting their stamp on the creative vacuum that they walked into. Ebersol was by all accounts a very good network executive, but he was not a comedian and didn’t come from a creative background. By the season opener, Crystal was already doing his Fernando Lamas impression ("You look mah-velous!") and Short had brought his Ed Grimley character with him from SCTV. By the third show, Crystal and Guest had worked up a breakout routine with their characters Willie and Frankie, who would continuously one-up each other with pain-inducing practices ("I hate it when that happens"). The show never missed a chance to exploit the new popular sketches — a hallmark of the Ebersol era — with Crystal doing his Fernando so frequently that the character almost deserved a separate credit in the opening theme.
More than any season before or since, the show relied on pre-taped segments, with Guest, Shearer, and Short preferring to work that way. While it went against the grain of SNL, some of the short films, particularly Shearer and Short playing aspiring male synchronized swimmers and Guest and Crystal portraying aged Negro League baseball stars were as good as anything that the show had produced.
The Oddness
Perhaps the best remembered episode of the season is the one hosted by wrestler Hulk Hogan and Mr. T to promote the first Wrestlemania. In the most famous segment, the pair appears with Crystal on his "Fernando Hideaway" sketch and can't keep a straight face. While Murphy returned to host and the Beatles' Ringo Starr took a turn, the other hosts included figures like Jesse Jackson, Howard Cosell, and Bob Uecker. The first show of the season didn't even have a host.
Additionally, there was little continuity with the show's fake news segment — called "Saturday Night News" instead of "Weekend Update" — with the show's host sometimes doing the anchoring and real newscaster Edwin Newman sitting in once before Guest finally took over midway through the season.
In stark contrast to the hosts, the seasons musical guests were a who's who of mid-80s pop, with acts like The Thompson Twins, Billy Ocean, Bryan Adams, and super-groups The Honey Drippers (featuring Robert Plant), and Power Station (featuring Robert Palmer) all making appearances.
The Aftermath
When an industry-wide writers' strike halted production in early March 1985, the show didn’t return from the forced hiatus. The abbreviated season ended after just 17 episodes. NBC was unhappy with spiraling production costs and Ebersol was unhappy with his creative staff. Shearer had quit the show in January citing creative differences ("I was creative and they were different," he said later). Short and Guest didn't want to keep doing a live show. Louis-Dreyfus and Belushi (along with fellow holdover Mary Gross) had been used so little throughout the season that they wanted out. Crystal, enjoying the biggest success of his career, was seemingly the only one who wanted it to continue.
Ebersol demanded a retooling, wanting to change the format to a completely taped show and with possibly a fixed rotation of guest hosts (his ideas for the rotation included Piscopo and David Letterman). Instead, NBC briefly canceled the show. After rethinking things, the network's executives decided that they would agree to give SNL another chance… if its original creator, Lorne Michaels, would take back over.
Then and Now
Eventually, Michaels agreed to return to the show and retained none of the cast or writers from the previous season. Taking a page from Ebersol's book, Michaels tried to use established actors like Randy Quaid and Anthony Michael Hall (along with Robert Downey Jr. and Joan Cusack) to re-launch the show… which very nearly did lead to the show being canceled permanently. It wasn't until the following season when Michaels entrusted SNL to virtual unknowns like Dana Carvey, Phil Hartman, Victoria Jackson, Jon Lovitz, Jan Hooks, and Dennis Miller that the show started the run that finally established it as the institution it has become.
The goodwill that the show had gained from Crystal, Short and Guest's lone season helped carry it through Michaels' disastrous first season back. Thirty years later, the 1984 - '85 season remains an oddly alluring anomaly in the long comedic history of SNL.

DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
1/5
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Sci-fi movies, TV and books usually resemble previous futuristic works, because we already recognize the common elements. Robots, neon lights, high-tech gadgets, sterile environments: these are just some of the traits that make the sci-fi genre. Almost Human has displayed all of those traits, but some stand out more than others.
Almost Human borrows from some of the best sci-fi films to form an enjoyable, cohesive TV series that is just getting started.
Blade Runner
Rick Deckard (Harrison Ford) must retire replicants, which are basically robots who look like and behave like humans. In Almost Human, Michael Ealy plays Dorian, a unique android brought out of retirement to work with Karl Urban's Det. John Kennex. Dorian isn't like the standard robots in Almost Human. He has emotions similar to a human and can think unlike the typical cyborg. Dorian would be the type of specimen Deckard would hunt in Blade Runner. Also, the dark slums littered with neon signs everywhere in the first episode of Almost Human resemble an environment in Blade Runner.
Robocop
Although Det. Kennex isn't a souped-up man-machine, the beginning of Almost Human basically copies the beginning of Robocop. Kennex is ambushed by bad guys just like Alex Murphy (Peter Weller). Kennex is out of it for a while and then teams up Dorian. Together, they form an interesting duo the same way Robocop and Anne Lewis do. Lewis is kind of useless, no? Then again, Robocop is slow as hell, so someone has to do the ground work. Neither Dorian nor Kennex possess mega powers, but their combination forms a much more potent force than any other cops on Almost Human.
I, Robot
It wouldn't be a sci-fi universe without some robotic add-on to a human. In this case, Kennex has a prosthetic leg, to replace the one he lost when a grenade literally blows it off in the first scene of the series. In I, Robot, Will Smith plays Del Spooner, a Chicago cop who has a fake arm. The fake arm has its advantages. It easily punches opposing robots in the face. And it saves the day when Spooner slides down a gigantic computer core by sticking his arm into the core itself; a human arm could do no such thing. Will Kennex's leg save him? Spooner, much like Kennex, seems to be the only one doing some gritty police work. Yes, they are the main characters, however, out in the field, it would be nice to have some backup. Kennex has Dorian, Spooner was usually on his own.
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Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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Joe Kohen/WireImageFrom The Lonely Island to Tenacious D to Flight Of The Conchords, the separate worlds of comedy and music continue to keep colliding but some funnymen and funnywomen prefer to keep their two distinctive talents separate. Here's a look at five comedians-turned-musicians who left the jokes behind when they stepped inside the recording studio.
Hugh LaurieWhile those outside the UK will know him best as grumpy doctor House or the father in Stuart Little, Hugh Laurie started his career as one half of a hugely popular comic partnership with Stephen Fry. After performing in charity covers outfit Band From TV, he then launched a surprisingly popular New Orleans blues-inspired solo career, reaching the US Top 30 with both 2011's Let Them Talk and 2013 follow-up Didn't It Rain.
Eddie MurphyDespite a debut produced by funk legend Rick James, a follow-up produced by Chic's Nile Rodgers and a third featuring a duet with none other than Michael Jackson, Eddie Murphy's pop career is only ever remembered for the enjoyably ridiculous US No.2 hit, "Party All The Time." Perhaps wisely giving the whole acting malarkey a rest having picked up four Razzie nominations in six years, he's now hoping to change all that with an equally baffling reggae-led collaboration with Snoop Dogg.
Steve MartinHaving showcased his banjo skills on his late '70s/early '80s comedy albums, Steve Martin then picked up a Grammy Award in 2009 when he released his first entirely musical studio effort, The Crow: New Songs For The 5-String Banjo. A recent joint effort with Edie Brickell, Love Has Come For You, almost cracked the US Top 20.
Tracey UllmanWhile there was undoubtedly a kitsch element to Tracey Ullman's retro pop covers, the British comedienne played her music career mostly straight, even reaching the Top 10 on both sides of the Atlantic with a rendition of Kirsty MacColl's "They Don’t Know" before packing in her singing ambitions following the commercial disappointment of 1984's You Caught Me Out.
Childish GambinoFormerly a writer on 30 Rock, Donald Glover then found fame in front of the camera as Troy Barnes on Community before defying all the odds and making that rare successful transition from TV to hip-hop with two acclaimed mixtapes and a nerd-embracing concept album, Camp, under the moniker of Childish Gambino.
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Actor Eddie Murphy has teamed up with rapper Snoop Lion to record a reggae song. The Dreamgirls star joined Twitter.com on Tuesday (03Sep13) and released the track Redlight to fans on the social media site.
Murphy also announced that he would be releasing a reggae album titled 9.
This isn't the first musical venture for the actor, who first began making music in the 1980s and has worked with some of the biggest names in the industry, including Stevie Wonder, Rick James, Nile Rodgers and Michael Jackson.
Snoop tipped fans off to his collaboration with Murphy in a Rolling Stone magazine article earlier this year (May13), but suggested the two stars would be working on a film project together.
He said, "I'm gonna holler at him, see if I can get some paper (money) to do some of these movies. I got a lot of ideas and I'm tired of paying for them myself."

After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
1/5
More Reviews:'The Hunt' Is Frustrating and Fantastic'You're Next' Amuses and Occasionally Scares'Short Term 12' Is Real and Miraculous
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